Podcast appearances and mentions of rudolph nureyev

Wayne Sleep was once called "the finest virtuoso ballet dancer the Royal Ballet has ever produced" by the founder of the company, Ninette de Valois. In this episode, Wayne tells Gyles his remarkable story - raised by his single mother in Plymouth and Hartlepool, Wayne overcame poverty and his short stature to become one of the most well known and successful British ballet dancers of all time. It's a fairytale that includes David Hockney, Rudolph Nureyev and Princess Diana, and much more besides. Thank you to Wayne for your time, wit and energy. Enjoy this. Learn more about your ad choices. Visit podcastchoices.com/adchoices Hosted on Acast. See acast.com/privacy for more information.

Wayne Sleep was once called "the finest virtuoso ballet dancer the Royal Ballet has ever produced" by the founder of the company, Ninette de Valois. In this episode, Wayne tells Gyles his remarkable story - raised by his single mother in Plymouth and Hartlepool, Wayne overcame poverty and his short stature to become one of the most well known and successful British ballet dancers of all time. It's a fairytale that includes David Hockney, Rudolph Nureyev and Princess Diana, and much more besides. Thank you to Wayne for your time, wit and energy. Enjoy this. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Wayne Sleep, Ben Miller, Rosalind Eleazar and Lou Conran join Stuart Maconie for this week's Loose Ends, with music from The Lottery Winners.Dance icon Wayne Sleep waltzes in to tell us stories of his life - all detailed in his new autobiography, Just Different. Tales of his friendships with Princess Diana, Freddie Mercury, David Hockney and fellow ballet legend Rudolph Nureyev intermingle with insights into his working-class upbringing and the difficulties of trying to make it as the shortest principal dancer ever to get into the Royal Ballet. Told he would always have to spin twice as fast and jump twice as high to succeed, Stuart hears all about the trials, tribulations and backstage gossip that make up Wayne's world. With notable appearances in Slow Horses, Howards End, Rellik and the Personal History Of David Copperfield, as well as striding such prestigious stages as the Royal Court and the National Theatre, Rosalind Eleazar is set to return to the small screen this New Year. Starring in the Netflix production of Harlan Coben's Missing You, filmed across the north west of England, she's here to tell us all about her new role as Detective Kat Donovan. Award-winning comedian and writer Lou Conran has been storming stages up and down the country since 2005 with her innate brand of sharp wit and honest and open humour. 2025 will see her twenty year anniversary as a performer and off the back of a sold out UK tour, she's about to embark on a tour of New Zealand, and joins Stuart to tell us about the year ahead. The actor and comedian Ben Miller is of course known for The Armstrong & Miller Show, the Johnny English and Paddington films, Death in Paradise, Bridgerton - but over recent years has turned his hand to writing children's books. From his Elf series to the recent The Night I Met Father Christmas, he joins Stuart to talk about his new character – Robin Hood…aged 10¾. And we'll hear all about his new TV series Austin which will be on our screens in 2025. Robbie Williams, Noel Gallagher, Boy George, Shaun Ryder and Frank Turner are just some of the huge names The Lottery Winners have in their phonebook. Formed in the mining town of Leigh 15 years ago, The Lottery Winners set out to work the UK gig circuit and perfect their now acclaimed stagecraft. And it all paid off when their last album went to No.1 in the UK. Their fourth original album KOKO is due out in February with a tour closely following…and another one with Robbie Williams following that! They join Loose Ends to play two songs - Superpower and Worry. Presenter: Stuart Maconie Producer: Elizabeth Foster Production Co-ordinator: Lydia Depledge-Miller

Bronson Pinchot joins me on this episode of Dystopia Tonight! As a versatile actor celebrated for his unforgettable roles in both television and film Bronson has captivated audiences with his comedic talent and charismatic presence. He is best known for his iconic portrayal of Balki Bartokomous on the hit sitcom "Perfect Strangers and as Serge in the Beverly Hills Cop franchise. Beyond his work on "Perfect Strangers," he has appeared in numerous movies and TV shows, showcasing his range and depth as an actor. Bronson is also an accomplished audiobook narrator, bringing stories to life with his distinctive voice. With a career spanning several decades, he remains a beloved figure in the entertainment industry.   On this episode we touch on some topical things going on but mostly focus on his life, career, acting, armchair warriors, Rudolph Nureyev, Charlie Chaplin, never having a game plan, no partying, Eddie Murphy, Paul Reiser, Kevin Bacon, dabbling in standup, his one man show and more! Enjoy!

It's likely that every single one of our listeners knows the name Cooper Nielson. He briefly broke Jody Sawyer's heart in the cult ballet movie Center Stage, and yet today, we speak with the man who played that role, Ethan Stiefel, who is far more interesting than the notorious Cooper Nielson. Ethan was born in Pennsylvania, and his father was a prison warden, and like many men before him, he was introduced to ballet by watching his sister's dance class. But by age 15, he had been accepted into the School of American Ballet where he trained with the likes of Rudolph Nureyev and Mikhail Baryshnikov. Upon graduation, he was accepted into the New York City Ballet, but the adventures didn't end there.In this wondrous conversation, Ethan talk so candidly about his life and career. We talk about his early years rising through the ranks at the New York City Ballet before defecting across the Lincoln Center Plaza to join American Ballet Theater as a principal, and Ethan and I cover so much more. We discuss what it's like for American men to grow up dancing in the US, how he became artistic director of the Royal New Zealand Ballet, managing a long distance relationship with his now wife, Gillian Murphy, and taking some time off for himself. Finally, we talk about playing Cooper Nielson and his new venture as the artistic director of the American Repertory Ballet.Ethan continues to live with his wife, Gillian Murphy, and their son in New Jersey in the US, while curating the new era of the American Repertory Ballet. For performance times and tickets, head to their website, arballet.org, or you can find them on Instagram, @arballet. While Ethan doesn't have Instagram, you can follow many of his adventures through his wife's Instagram. Gillian Murphy, also a principal dancer at ABT, @gillianemurphy. Ethan and I recorded our conversation remotely with Ethan dialing in from New Jersey on the East Coast of the US.We are thrilled to be sponsored by Energetiks. Energetiks specialise in creating sustainable, world class dancewear for the stars Energetiks is offering Talking Pointes listeners a 20% discount [available until the end of March 2024]. Listen for the code in the episode. Shop their extensive range online at energetiks.com.au or energetiks.com if you're listening from the US. T&Cs APPLY. @energetiks @energetiksusaTalking Points is produced on the lands of the Gadigal and the Wanegal peoples to whom we pay our greatest respects. Talking Points is produced by Fjord Review. Remember to subscribe to get the latest episodes as soon as they're released. If you like us, please leave a five-star review. On the next episode of Talking Points, you'll hear from Evie Ferris.Your host and producer is me, Claudia Lawson, with additional production by Penelope Ford and Clint Topic. Sound production and editing is by Martin Peralta at Output Media. For the latest in all things dance, head to fjordreview.com.

Patricia Boccadora – Rudolph Nureyev: As I remember him...with TRE's Ger Sweeney

On this day in 1961, Russian ballet dancer Rudolf Nureyev defected from the Soviet Union at an airport in Paris. See omny.fm/listener for privacy information.

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)  Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature.   The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/   Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev. Thank you to Powerbleeder for the theme song "Future Mind" listen here! Other songs in this episode: Tango- music from Four Horsemen of the Apocalypse

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)      Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature.   The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/   Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev. Thank you to Powerbleeder for the theme song "Future Mind" listen here! Other songs in this episode: Diamonds are a Girl's Best Friend- Marilyn Monroe Ten Cents a Dance- Ruth Etting

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)    Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature. The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/ Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev.

Jackie Lyle, Executive Director of Performing Arts Serving Acadiana, known as "PASA," joins Discover Lafayette to discuss the organization's mission to provide local access to great performing arts. Jackie has worked tirelessly over the past three decades to bring unique arts programming to Acadiana. She is a passionate spokesperson for the many ways art impacts our economy, from hiring people in transportation, printing, recording, and sound, live musicians, costumers, etc. "It's vital that this industry recovers. We have got to be in venues and selling tickets" to thrive and survive. A native of Oberlin, Louisiana, Jackie moved to Lafayette at seven years of age and followed the stereotypical path of a young girl in the 70s. She had always loved dancing, playing the piano, and being a band member; while she loved the arts, Jackie says she never had the confidence to pursue a career as a professional performer so she graduated in Psychology from LSU. She never intended to work, but to be a wife and mother. However, upon returning home from college, her dad said, "Jackie, you need a job with health benefits!" Always the dutiful daughter, Jackie followed her dad's advice and became a Clairol account executive, which gave her great sales training, and the opportunity to learn the ropes of business activities. Her next career move landed her in a full-time job as an account executive with the Times of Acadiana, a start-up periodical. She had the opportunity to work with James Edmunds, Steve May, and Richard Baudoin, all well-known names in the publishing business in this region. Jackie credits this position with helping her understand how the government and community forces worked, and the management team constantly challenged her to do new things and spread her wings. By the end of her tenure with the Times of Acadiana, she led a sales team, had her own publication, and wrote a weekly column for the Times. She was ready to fly successfully on her own. At that time, in the early 1980s, Lafayette's art scene was enriched by the productions presented by the Fine Arts Foundation which began in 1975. The non-profit brought in such renowned artists as Ella Fitzgerald, Rudolph Nureyev, and Gregory Hines. But with the oil and gas bust of the late 1980s, the Heymann Center closing for renovations, and the failure of the organization to pay its taxes, the Fine Arts Foundation folded and filed for bankruptcy in the late 1980s. From this aftermath, PASA (originally known as the "Performing Arts Society of Acadiana") emerged under the helm of Jackie Lyle. Jackie looked back with pride on the impact that her work has had over the years, including having PASA hired to help with the opening of the Manship Theatre in Baton Rouge and the Grand Opera House of the South in Crowley. "PASA's goal is to provide local access to great performing arts. That is our #1 goal. Great performing arts you can attend locally is what makes a community great. This does not mean sold-out performances or making "x" amount of money. Our mission is local access. When we are able to return to daytime performances for local students, that will be the most important thing that we can do. So many kids never have the opportunity to step foot in the Heymann. That is a transformative experience as many kids have never seen a grand piano played. We also now have a trailer that will be our local stage to bring performances into neighborhoods. As soon as cold weather ends, we'll be going into three different neighborhoods." PASA has also commissioned new works, which means supporting the creation of original performances of song and dance by providing direction and financing. PASA's first such work involved telling the story of the settlement of the first Acadians in our region. This pivotal work is still actively touring after more than 27 years. PASA is currently working on a new piece of commissioned work which will premiere in Denver on Septe...

Confluence Ballet presents the Nutcracker Sweet in three performances at the Mall at Robinson with Nutcracker art and cards for sale, plus photos with the Candy Canes and dancers. Ballet Mistress Lea Havas and artist dancer Sage Feldges have the plan for this all women production. The new company is working to dispel stereotypes of ballet types and celebrating diversity. Lea Havas from Sao Paulo has danced in Brazil, Germany,Switzerland, the US and many other countries around the globe. She worked with dance legends Rudolph Nureyev and Jiri Kyllian and has recently become a US Citizen along with her husband James Gourlay, the Director of River City Brass.  Sage began at age 3 in the Dietrich Dance Studio, spent a year in modern dance at the University of Missouri, Wisconsin and a year at the Ballet Met as well as being a fine visual artist with paint and pencil. In their conversation with Jim Cunningham, they share their hopes for Confluence Ballet. 

This week, the Muppets get fancy and Sam and Matt get loquacious! Enjoy this inexplicably long episode, and if you have a name for Pepé's cryptocurrency, please tell us! In this episode, we cover the following... episodes: Zero Mostel, Rudolph Nureyev, and Judy Collins yaaaaaayyyy If you can't get enough Kermitment, follow @KermitmentPod, where we'll tweet fun stuff and interact with our listeners! And you can follow each of us individually: Matt: @MatthewGaydos Sam: @im_sam_schultz

Summary:In today's episodes of The Tragedy Academy, Jay is joined by Brazilian actor and dancer Glauco Araujo. Glauco walks us through his life growing up in remote farmland in Brazil and how he turned his internal struggles into beautiful art for all to consume.Key Points: Glauco tells his backstory growing up in a remote farm area in BrazilTransitioning from a field outside of Rio to an accomplished dancer and actorGlauco's first contact with balletFavorite ballet dancer Rudolph Nureyev and relating to his struggleMoving to New York wanting to something moreSeeking therapyCharity: Disciple Actors GuildEpisode Highlights:[02:23] Glauco tells us his experience growing up on a farm outside of Rio De Janeiro and his aspirations of wanting something more [05:05] Glauco shares where his passion for dance was born. Starting with performing at Carnival, to working in the Paralympics, and also working for Modern Dance in Chicago.[07:20] Glauco expresses his awe every time he visited Rio as a kid, comparing it to being in Times Square for the first time. [09:47] Glauco gives us a rundown of his initial contact with a ballet which was getting his first job in a dance company in Rio where he was lucky enough to have a director who believed in him. Although he does admit that he hated ballet at first.[12:49] Glauco begins to immerse himself into the ballet by studying its history which is where he discovered his favorite dancer, Rudolf Nureyev.[17:37] Glauco reveals how he relates to Rudolph's struggle; the diversity he had to overcome by being gay, the humble beginnings, his grit in following his dreams. [19:36] Glauco shares the difficulties growing up in Brazilian culture that is traditionally machismo and suppressive, and evangelical.[21:51] Gluaco expresses his relief and gratitude for finally living in a place that allows him to be free and is encouraged to live out his dreams.[26:00] Glauco moves to New York where he feels a burning desire to do more than dance, something that allows the human connection. [29:14] When moving to New York, a director sees Glauco perform and offers him a role in a short film about dancing. [31:02] Glauco reveals that most opportunities that have come into his life have been through connecting with people.[34:37] Staying out of trouble is Glauco's #1 advice to his younger self, but through this, he recognizes that his aggressions as a kid acted as a way to protect himself. [38:46] Glauco and Jay discuss how people don't change without new experiences which also means you cannot judge people without people having a chance to be confronted in what they believe in.[40:30] Glauco confesses how therapy was his savior in overcoming and accepting past trauma. He feels that the only way to help others in seeking mental help is by setting the example.[42:58] Charity: Disciple Actors Guild; helps performers pay their rent and bills [46:01] Glauco shares heartwarming messages he has received on social media [48:34] Jay and Glauco discuss the very prominent body dysmorphia in dance and how we judge ourselves to the worst degrees.[51:00] Plugs: 2 short films that will be out in June. Actorsguild.org[54:00] OutroConnect with Glauco:WebsiteInstagramYouTubeIMDB Tweetable Quotes: “I think the motivation should be to get out of the small town and be in a big city...I had a dream to be an artist”“I was lucky enough to have a director who believed in me… a raw talent”“I got the job first and started taking ballet classes, and I HATED ballet in the beginning”“Where I came from you don't have a choice”“I don't have to be afraid when I got outside, I'm free here. I can be myself. it's like everything is in favor of me”“If there's 50% of love… try to nurture that 50%” Glauco Araujo is a Brazilian-born professional dancer and actor trained both here in the U.S. and in Brazil. In Rio, Glauco danced with the Rio Dance Company (modern dance), as well as with the integrated dance company ANDEF (disability dance). In 2012, Glauco represented Brazil in the closing ceremony of the Paralympic games in London. And from 2015 to 2017 Glauco acted and danced lead roles at Momenta Dance Company with a repertoire including Doris Humphrey, Martha Graham and Charles Weidman, as well as classic choreographers like August Bournonville, Mikhail Fokine, Jules Perrot and Marius Petipa; and disability choreographers Alice Sheppard and Ginger Lane. At Momenta, a dance piece entitled Meloudious Marco was created for Glauco in which he was featured in the lead role of Marco. Glauco was drawn to NYC in early 2017 and was given a scholarship in at Alvin Ailey from 2017 to 2018. In 2018, he was the featured dancer in Aria, a duet choreographed for him by Pedro Ruiz, with live accompaniment by the Camerata NY Orchestra. Glauco danced and acted the following year in Sasha Spielvogel's new musical Come Back Once More So I Can Say Goodbye — a celebration of the 50th anniversary of Stonewall. Glauco's next featured role was in Joshua Bergasse's musical A Crossing, performed with Barrington Stage Company. Glauco has teamed several times, beginning in 2018 to the present, with the award-winning German dancer/director Severine Reisp. Their films have been recognized in a number of international film festivals: A Tango to Remember– Best Romance Film, Los Angeles Film Awards; Best Woman Filmmaker, The Atman Film Festival; Cinematic Award Winner, Cyprus International Film Festival; Ruminate– Best Musical and Best Dance Choreography, Oniros Film Awards; Best Musical/Dance Film, Los Angeles Film Awards. Another film, Lucid, written and directed by Juan Wang has received a Best Film award from The Heibei Television Artists Association. Glauco costarred in this short film with the beautiful and talentedactress and formerAmerican Ballet Theater dancer, Elina GoldeMiettinen. Another film project that Glauco and Elina collaborated on Stop What You're Doing(Music Video), directed by Severine Reisp. This music video won Best Music Video at the Athens International Digital Film Festival Award. On TV, Glauco most notably had a featured comic role in a promo commercialfor Betty in New York, and last January Glauco played the devious Pawnbroker on The Investigation Discovery Channel in Homicide City: Charlotte. Drawn to the New York theater scene, Glauco has worked nonstop onstage for the past three years, working often with Triangle Theater and The Snarks, ACC and EAG. His New York debut was as the romantic lead, Peter Latham, in Pierre Barillet's Forty Carats. His comic turn was followed by his hilarious performance as the effete Bob Lamb in Tina Howe's Museum. In a series of scene nights, Glauco's range has covered the hot-headed role of Ken in John Logan's Red, the sweet-hearted Cornelius in Thornton Wilder's The Matchmaker, the deceptive Morris Townsend in Ruth and Augustus Goetz's The Heiress, and the diabolic Adolf Eichmann Raul Wallenberg's Saved Me. In Soledad Bailada y Casi Compartida, presented at the University of Seville, and on tour around Spain. Glauco has been thrilled to work alongside Broadway and West End actors Anthony Newfield, Alison Fraser and Karen Archer in Richard Alleman's new play Adrift, playing the Brazilian, and provocative Zumba instructor, Flavio. Glauco has been honored to be part of special performances to benefit the Episcopal Actors' Guild and the Cape May Stage. Reviewed in the Times Square Chronicles, “Betsy (Alison Fraser) longs for something more, alongside interactions of the less virtuous kind with the handsome and sweet-talking Flavio, played seductively by the appealing Glauco Araujo (Spielvogel's Come Back Once More).” Recently, Glauco performed in a short bio-pic entitled Dance for Freedom directed by Severine Reisp, highlighting the challenges people of color face today, and which has garnered recognition as the First-Place Recipient of the Dr. David Milch Foundation/CCNY Award in short film competition. In her review, juror Timberkly Whitfield, program executive and producer for A&E, as well as a host on the History Channel and A&E, wrote: “Glauco Araujo is a beautiful dancer and you capture him in such a way that really moved me. I felt inspired by his story that even in the face of racism he doesn't see himself as a victim. Strong production values. You checked all the boxes on this one — FANTASTIC!”  Link from past Interviews  http://diversityrulesmagazine.com/2021/02/28/march-feature-interview-glauco-araujo/http://www.ourtownny.com/news/the-universal-language-of-the-arts-YE1547010https://elespecial.com/glauco-araujo-el-bailarin-que-ha-conquistado-de-brasil-new-yorkhttps://www.noticiali.com/glauco-araujo-sobreviviendo-a-traves-de-la-creatividad/

In this conclusion of a 2- part episode, actress, singer and Rock & Roll Hall of Famer Michelle Phillips talks about transitioning from music to films, hosting star-studded Hollywood parties, locking horns with Rudolph Nureyev, befriending Groucho Marx and her final conversations with group mates John Phillips and Cass Elliot. Also, Brian Wilson searches for inspiration, Jimi Hendrix burns his Stratocaster, Mia Farrow visits the Joshua Tree and Michelle hangs with Elvis, Cary Grant and Gregory Peck. PLUS: The Mugwumps! Monterey Pop! "The Man with Bogart's Face"! Leslie Caron swings! Otis Redding brings down the house! And Michelle pens the second verse of "California Dreamin'"! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode I chatted with Principal Dancer of the OKC Ballet, Jonathan Batista. Jonathan started his training at a social project in the City of God Slums. His talent was then spotted by his teacher which took him to a pre-professional dance division at Alice Arja Ballet School where he started his journey in Classical Ballet. Batista was first seen by Edward Villella (Former Founder & Artistic Director of Miami City Ballet) and then by Jane Hackett (Former School Director at English National Ballet School) which offered him a full scholarship to English National Ballet School in London, UK. Batista also attended The Royal Ballet School.Upon his Graduation in 2011 Batista went on to perform with major ballet companies such as English National Ballet, The National Ballet of Canada, Miami City Ballet, Boston Ballet, Cincinnati Ballet, and Oklahoma City Ballet. Batista has worked and performed Soloist & Principal Roles in many of the most renowned choreographers such as Helen Pickett, Val Caniparoli, Septime Webre, Jiri Kylian, Ma Cong, Jennifer Archibald, Annabelle Lopez Ochoa, Marcelo Gomez, John Neuemeier, Christopher Wheeldom, Liam Scarlett, Jorma Ello, William Forsythe and more.Batista's rep includes Principal and Solo Roles by choreographers such as Sir Frederick Ashton, Sir Kenneth MacMillan, August Bournonville, Marius Petipa, Rudolph Nureyev, Maurice Bejart, Harald Lander, Robert Joffrey and more.Batista has also performed as a Guest in Galas and events in Canada, Brazil, Argentina, Germany, England, Switzerland & The United States.Currently as a Principal Dancer with The Oklahoma City Ballet, Batista also serves as a private ballet master & coach, choreograph and teach groups via ZOOM for studios and students worldwide, and during his spare time he also serve as a Mentor and is wholeheartedly involved in charitable & humanitarian causes. Follow Jonathan on instagram here www.instagram.com/jonathanbatistaofficial online at www.jonathanbatistaofficial.comThis episode is presented  by the oklahoma hall of fame. Telling Oklahoma's story through its people since 1927. Follow them online at www.oklahomahof.com and on social media www.instagram.com/oklahomahof

Todays episode just touches the fringe edges of Sally and Johnny and their adventures "doin stuff". You'll hear about iconic moments in their young lives together at a the Scream in the Dark haunted house, The Hoosier Theatre, The Whiting 4th of July Parade, their shared love of Bette Midler and about the time they traveled together by Amtrak to Minneapolis. Grab some champagne, some clams on the half shell and hear about Rudolph Nureyev...or Rudolph Valentino...you decide.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cigarettestabandtampons/message

Hello friends Today's podcast I interview Susanne Puerschel an experienced Principal Chief Executive Officer with a demonstrated history of working in the consumer services industry. Skilled in Team Motivation, Conflict Prevention, Operations Management, Wellness Coaching, and Conflict Resolution. Strong business development professional with a Bachelor of Arts - BA focused in Ballet from Staatliche Ballett Schule Berlin. She had the privilege to grow up behind the Iron Curtain in Berlin, East Germany. She studied dance for 8 years at the very best Ballet school in Germany. At the age of 18 she emerged into the best company in Germany, the State Opera House in Berlin, where her childhood dream became true. Susanne had the honor to work with legends like Rudolph Nureyev, Maurice Bejart, Roland Petite, Roberto Bolle and Vladimir Malakhov. She is the Founder of the Empowerment Society Pointe To Rise, that is dedicated to empower dancers from within. We talked about the importance of creating a community to empower us to rise up and make a difference in the dance, fitness world. Follow Susanne: IG- @susannepuerschel IG- @pointe_to _rise Facebook - Pointe To Rise LinkedIn- Susanne Puerschel Pinterest- Pointe To Rise Please don't forget to subscribe to the podcast and show me some love by leaving a review on iTunes and a 5 star. It would mean the world to me :) Thank you so much for joining us today :) Want to be part of our free Inner Warrior community? www.facebook.com/groups/1624574987856058/ Website: andreakawanodupuy.com YouTube: www.youtube.com/channel/UCmEaMlSp…iew_as=subscriber Instagram: www.instagram.com/andreakawanodupuy_/

In this episode Joanna Vargas interviews members Susanne Puerschel, a retired ballet dancer from Berlin, Germany. In this episode, Susanne gives you information on what the major requirements were to become a successful ballet dancer in a strict ballet school in Europe. Listen to the stories that happened as the wall of Berlin was knocked down and how it affected dance in Germany. In this episode you will learn about:What you can accomplish by speaking up and asking for help. What works to leave a place of passion and make it your own. The differences between dance generations. How important it is to continue to train in ballet as a dance foundation.How to continuously grow as a person by asking questions for your self- development.   Show Notes: Susanne takes you inside the ballet world and gives knowledge on how to help yourself to grow not only as a dancer but as a person too. Susanne is a dance and performance coach that will inspire you to live life with great passion.  Question Highlights:What was your experience as a ballet dancer living in Berlin, Germany?What kind of strict requirements did the ballet school have? Tell us about Pointe de Rise. How is it helping dancers? What are some good tips for self development?How do you see the dance world now versus when you started dancing? About Susanne:Susanne is an experienced Principal Chief Executive Officer with a demonstrated history of working in the consumer services industry. Skilled in Team Motivation, Conflict Prevention, Operations Management, Wellness Coaching, and Conflict Resolution. Strong business development professional with a Bachelor of Arts - BA focused in Ballet from Staatliche Ballett Schule Berlin.She had the privilege to grow up behind the Iron Curtain in Berlin, East Germany. She danced 8 years at the very best Ballet school in Germany was fully paid for. At the age of 18 she was emerged into the best company in Germany, the State Opera House in Berlin, where her childhood dream became true. Susanne had the honor to work with legends like Rudolph Nureyev, Maurice Bejart, Roland Petite, Roberto Bolle and Vladimir Malakhov. Follow Susanne:Instagram (Link to https://www.instagram.com/susanneguides/?hl=en )Linkedin link to: (https://www.linkedin.com/in/susanne-puerschel-800364175/?originalSubdomain=ca)LinkTr.ee link to: (https://linktr.ee/susannepuerschel) JOIN MY 30 DAY MEDITATION CHALLENGE ON INSTAGRAM. FOLLOW ME HERE - Joanna Vargas on Instagram - AND JOIN ME EVERYDAY FOR 30 DAYS AT 7AM PST (2PM UTC) FOR 4 MINUTES!Resources:The Get Up GirlJoanna Vargas on InstagramJoanna Vargas on FacebookTikTok @joannavargasofficialJoin my monthly online academy:LIVE FULLY ACADEMY

Luke Jennings shot to notoriety as the author and creator of Killing Eve, but what you may not know is that Luke was a highly respected dance critic for 13 years. After securing a much-coveted interview with Rudolph Nureyev his career took off. Throughout this episode Luke and the guys discuss the art of storytelling and how language, writing and dance are inextricably linked. British ballet's ability to tell a story is also up for debate before Killing Eve and its evolution becomes our focus. In true psychopathic assassin Villanelle-style Tom and Ty end the episode as beautiful corpses...

On this episode of Baring It All with Call Me Adam, on the Broadway Podcast Network, I am chatting with television producer, director & screenwriter Stan Zimmerman. We will be talking about writing for TV hits like The Golden Girls, Gilmore Girls, & Roseanne as well as his forthcoming book The Girls: From Golden to Gilmore + all his theatrical endeavors! ****This interview was recorded prior to the COVID-19 pandemic. Some events mentioned may have been postponed.**** For more on Stan visit https://www.zimmermanstan.com and follow him on social media @zimmermanstan, Facebook, Twitter, and Instagram! Like what you hear? Then become a member of my Patreon Page for exclusive behind-the-scene perks! For more "Call Me Adam" interviews visit: https://callmeadam.com  Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ)  Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY)  Edited by Drew Kaufman (https://bit.ly/2OXqOnw) More on Stan: After attending Cranbrook Summer Theatre School for five seasons and Hampton Playhouse for two, Stan headed to New York to get his BFA at NYU/Circle-in-the-Square drama program. He appeared on Broadway dancing behind Rudolph Nureyev and the Joffrey Ballet in Homage to Diaghilev at the Mark Hellinger Theatre. Stan worked in casting before moving to Los Angeles, where he's been part of one of the longest running comedy writing teams, Zimmerman & Berg. Along with James Berg, Stan's worked on many television series, including season one of The Golden Girls, Brothers, Fame, Hooperman, Something Wilder, Roseanne, Wanda at Large and the highly successful fifth season of Gilmore Girls. They penned the "Norman Mailer, I'm Pregnant" episode. Z&B (as they're also known) have 2 WGA nominations to their credit -- "Rose's Mother" from The Golden Girls and the other for "Don't Ask, Don't Tell", the infamous lesbian kiss episode of Roseanne. Besides writing & producing many television pilots, Z&B rewrote the Emmy and Peabody award winning Annie for ABC. They have also written for film, including both Brady Bunch movies. The Brady Bunch Movie was honored by American Cinematheque. The Q&A panel with Jim, Stan, Shelley Long, Gary Cole and director Betty Thomas can be seen on youtube.com. Z&B created and exec produced two seasons of Rita Rocks, a half hour comedy series on Lifetime starring Nicole Sullivan and Tisha Campbell-Martin. They're much talked about new pilot script -- Silver Foxes, a gay men's Golden Girls, had an epic reading with George Takei, Leslie Jordan, Bruce Vilanch, Todd Sherry, Cheri Oteri, Daniele Gaither & Melissa Peterman. Stan conceived, adapted and directed, SUICIDE NOTES: In Their Own Words, which won a Hollywood Fringe Festival 2015 Encore Producers' Award. The show starred Oliva d'Abo, Allie Gonino, Peter Onorati, Brendan Robinson. It's a one hour theatre piece in the vein of The Vagina Monlogoues. There was a benefit/reading of the play, now entitled Right Before I Go, Monday Dec 4 2017 at NYC's Town Hall. The all-star cast included: Ellen Burstyn, Judith Light, Michael Cerveris, Hari Nef, Maulik Pancholy, Alice Ripley, Lois Smith, Amber Tamblyn, Raviv Ullman and Vanessa Williams. A one night benefit of the play was performed at The Ratner Museum in Bethseda, Maryland June 2018 and in Orlando at The Mezz in Sept on International Suicide Prevention Day. Stan performed in the piece as "The Narrator" in Orlando and for a two night engagement at Claremont High School in Oct. That show was performed by high school students, faculty and school board members. He returned to Bethesda July 2019 to perform again, but this time with a mostly teen cast from The Achieve Project. For a full bio visit https://www.zimmermanstan.com/bio.html

Laura Young shares stories of her partner Rudolph Nureyev and her later years with Boston Ballet.

These two heavyweights of the arts reveal intimate stories interwoven around legends such as Rudolph Nureyev and Richard Burton. Monica candidly reveals the shock of her father’s premature death, as well as her family’s subsequent emigration from South Africa to London to pursue her balletic dreams. Sir Derek talks of his theatre background and the true secret to being an actor.

Special guest star, of Dis Down Under, Kat joins Rachele and Lewis to review the live-action remake of the Lion King. They also review White Crow - directed by Ralph Fiennes- which tells the story of ballet legend Rudolph Nureyev and his escape to the west in the early ’60s at age 23.

Jamie McCourt, the U.S. Ambassador to France and Monaco, joins Christiane Amanpour to discuss the 75th anniversary of D-Day. David Morris, co-director of "Nureyev", discusses the process of making the film with his sister Jacqui, which portrays Russian ballet dancer Rudolph Nureyev. Dame Sian Phillips, who narrated the film, describes her friendship with the infamous dancer who defected during the cold war. Our Hari Sreenivasan talks to Patton Oswalt, writer, comedian and actor, about how he uses comedy to heal his grief.To learn more about how CNN protects listener privacy, visit cnn.com/privacy

We salute some powerful sisters today: Peggy Lipton, Melinda Gates, Julia Louis-Dreyfus and New Zealand PM Jacinda Ardern. Let's start with the first cool girl we ever saw on TV: Julie Barnes on Mod Squad. Julie, you changed our lives and our look forever. Plus we'll never forget this: "Cops. One black. One white. One blonde." As Linc would say, solid. Lian spent an evening with Melinda Gates and John Legend talking about her life and her new book The Moment of Lift. She gives us the highlights. Mass shootings. We've had enough. Read this editorial by New Zealand PM Jacinda Ardern about what we should be doing next: We Can End The Era of Live-Streamed Violence Have you heard of the Glass Cliff? Liz discusses it with a guest on this week's episode of Safe For Work. Lian sees a lot a examples around her, including the new President of USC. Entertaining Sisters: The Veep Finale. We laughed. We cried. We watched it a second time. Farewell, Selina. Russia Russia Russia : Julie's watching TV and movies about her former home. HBO Series on Chernobyl  and the movie The White Crow about Rudolph Nureyev directed by Ralph Fiennes Missed any Satellite Sisters podcast episodes? We've got 800 of 'em. You can always catch up on Satellite Sisters episodes you may have missed over the years. Subscribe at Apple Podcasts, Spotify, Stitcher or Wondery.com. And we love when you share your favorites episodes with your own Satellite Sisters and Misters. Stitcher Premium: For ad free versions of our show and many other great Wondery podcasts, go to www.stitcherpremium.com/wondery and use the promo code wondery We have a great upcoming guests:the wonderful Jennifer Weiner, who's new book coming in June is Mrs. Everything. Listen to Liz's workplace advice show Safe For Work and the Madam Secretary recap show Lian and Julie do called Satellite Sisters Talk TV. Follow us on @Twitter and @Instagram @satsisters. Like our Facebook Page for all our news. Join our Facebook Group to get in on the conversation. Visit our complete website satellitesisters.com. To email us, use info@satellitesisters.com See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We salute some powerful sisters today: Peggy Lipton, Melinda Gates, Julia Louis-Dreyfus and New Zealand PM Jacinda Ardern.Let's start with the first cool girl we ever saw on TV: Julie Barnes on Mod Squad. Julie, you changed our lives and our look forever. Plus we'll never forget this: "Cops. One black. One white. One blonde." As Linc would say, solid.Lian spent an evening with Melinda Gates and John Legend talking about her life and her new book The Moment of Lift. She gives us the highlights.Mass shootings. We've had enough. Read this editorial by New Zealand PM Jacinda Ardern about what we should be doing next: We Can End The Era of Live-Streamed ViolenceHave you heard of the Glass Cliff? Liz discusses it with a guest on this week's episode of Safe For Work. Lian sees a lot a examples around her, including the new President of USC.Entertaining Sisters:The Veep Finale. We laughed. We cried. We watched it a second time. Farewell, Selina.Russia Russia Russia : Julie's watching TV and movies about her former home. HBO Series on Chernobyl and the movie The White Crow about Rudolph Nureyev directed by Ralph FiennesThanks for supporting today's sponsors by using these special urls and promo codes:FabFitFun: www.FabFitFun.com promo code sistersHarry's: www.harrys.com/sistersWarby Parker: www.warbyparker.com/sisters Missed any Satellite Sisters podcast episodes? We've got 800 of 'em. You can always catch up on Satellite Sisters episodes you may have missed over the years. Subscribe at Apple Podcasts, Spotify, Stitcher or Wondery.com. And we love when you share your favorites episodes with your own Satellite Sisters and Misters.Stitcher Premium: For ad free versions of our show and many other great Wondery podcasts, go to www.stitcherpremium.com/wondery and use the promo code wonderyWe have a great upcoming guests:the wonderful Jennifer Weiner, who's new book coming in June is Mrs. Everything.Listen to Liz's workplace advice show Safe For Work and the Madam Secretary recap show Lian and Julie do called Satellite Sisters Talk TV.Follow us on @Twitter and @Instagram @satsisters. Like our Facebook Page for all our news.Join our Facebook Group to get in on the conversation.Visit our complete website satellitesisters.com.To email us, use info@satellitesisters.com

On this edition of the Cinema Clash: Seth Rogen and Charlize Theron pair up in the political romantic comedy LONG SHOT; animated dolls embrace their differences and defects in the well-meaning kids movie UGLYDOLLS; the true story of legendary Soviet ballet dancer and defector Rudolph Nureyev leaps onto the big screen in THE WHITE CROW; the Netflix documentary KNOCK DOWN THE HOUSE traces the grassroots path of Alexandria Ocasio-Cortez and three other women who took on the political establishment in the recent midterm elections; and LONG DAY’S JOURNEY INTO NIGHT mixes film noir with an epic cinematic feat.

This edition includes: Creator of the World Wide Web Sir Tim Berners-Lee has bemoaned the state of his creation as it reached its 30th anniversary this week. Media analyst Graham Lovelace discusses what's being done to address the internet's ills and whether they will succeed. Special correspondent Allan Little continues his journey around Brexit Britain, gauging the public's opinion on the current state of the UK's relationship with the UK. The Reporter's Notebook comes from former BBC reporter Louise Batchelor, who counts the cost of the loss of Fair Isle's Bird Observatory through a massive fire, and in the Long Interview, Isabel Fraser speaks to playwright Sir David about his latest film The White Crow, a biopic of ballet dancer Rudolph Nureyev, the state of British politics and his self-described status as 'national disgrace'.

In this NAC 50th Anniversary podcast, Karen Kain, Artistic Director of The National Ballet of Canada, and Rex Harrington, Artist-in-Residence, both acclaimed former principal dancers with the company, share memories about performing at the National Arts Centre and during Karen's farewell tour across Canada. Throughout her career, opportunities came to Karen through artists Rudolph Nureyev, Erik Bruhn, John Neumeier, Glen Tetley and Jiří Kylián and her exquisite performances were made all the more memorable by Rex's innate gift for magical and magnetic partnering. Under her artistic directorship, The National Ballet of Canada has become one of the top international companies in the world. Both she and Rex explain how this was achieved. In closing, Rex speaks of the rewards of coaching and passing on knowledge while Karen shares her vision for the coming years.

Stephenie Herman is a former ballerina who has danced with Mikhail Baryshnikov and Rudolph Nureyev and was a protégé of legendary choreographer George Balanchine. In this podcast episode Stephanie shares her memories of these ballet legends and gives us an insight from a ballerina's unique point of view. Stephanie became a principal dancer at just 19 and moved from the US to Zurich to train with Balanchine. Stephanie shares her dance journey and experience of suffering from injuries that affected her ballet career, and led her to creating her own Pilates Ballet programme. But Stephanie's creativity has been unstoppable! She's also recently created a Gold Award winning ballet play and film: 'Ballerina: A One Woman Play with Stephanie Herman'. Listen to her talk about creating this personal and inspired play. PRESS PLAY. https://s3-eu-west-1.amazonaws.com/djwpodcasts/1wwwod/Stephanie+Herman.mp3   Stephanie Herman. Photo by Azita Gandjei Stephanie Herman. Photo by Azita Gandjei Stephanie Herman. Photo by Azita Gandjei Stephanie Herman in Agon

Stephenie Herman is a former ballerina who has danced with Mikhail Baryshnikov and Rudolph Nureyev and was a protégé of legendary choreographer George Balanchine. In this podcast episode Stephanie shares her memories of these ballet legends and gives us an insight from a...

Cary Fukanaga, recently announced director of the next James Bond film, discusses his new Netflix series Maniac. The show explores the minds of two strangers, played by Emma Stone and Jonah Hill, who take part in a mysterious drug trial in the hope of changing their lives for the better.The Royal Opera House has unveiled the results of its £50m, two-and-a-half-year Open Up project. For the first time it will be open to the public daily, with a new programme of free and ticketed events. Royal Opera House CEO Alex Beard explains what's new and improved about the Covent Garden building.'In one section he's polishing a scaffolding pole in the most provocative way imaginable' is how director Jacqui Morris describes the previously unseen footage of Rudolph Nureyev she has uncovered. Along with her brother David, the pair have created a new documentary film about the legendary ballet dancer's life through this new archival footage, his own memoirs and a newly-commissioned interpretive dance.Presenter Stig Abell Producer Ben Mitchell

Laura joined the Boston Ballet in its inaugural season and was a principal dancer with the company for 25 years. Her long and varied career included dancing with Rudolph Nureyev and Margot Fonteyn. Her recent memoir Boston Ballerina is now available on Amazon.

Ashley Wheater, Artistic Director of the Joffrey Ballet joins the conversation to discuss the new partnership with Lyric Opera, the PBS filming of Orphée et Eurydice and the 2017-2018 opening production of Giselle at the Auditorium Theater. Along the way, he reflects on co-founders Robert Joffrey, Gerald Arpino, working with Rudolph Nureyev, John Field and Helgi Tomasson, among others, and the 1996 career-ending injury, surgery and the aggressive physical therapy that followed.  Season 2 Episode 27 | Originally published October 11, 2017

At the age of 30, with no formal training, Jeremiah Tower became a chef. His approach to cooking changed the food world for good, then he walked away. Dan Saladino tells the story of the man who many consider to be the first "celebrity chef". The food writer and broadcaster Anthony Bourdain has described Jeremiah Tower as a "dangerous person to know", to others he's the Jay Gatsby figure of the restaurant world. Born in the USA, brought up in Australia and England, his childhood was, on first appearances, a privileged one. He was born into a world of wealth, travel and a first class lifestyle. It was also however, strange and difficult with a mother and father who were often detached and uninterested in their young son. As he got to experience more of the world's best restaurants, hotels and ocean liners he sought comfort and pleasure in food, kitchens and cooking. At age 30, following studies at Harvard which resulted in a failed career as an architect, he answered a job advertisement to work in California's Chez Panisse restaurant, founded by the cook of America's counter culture Alice Waters. Both the restaurant and Jeremiah's cooking would become world famous. In 1984 he set up his own restaurant in San Francisco, Stars, which went on to become one of the most celebrated and lucrative restaurant in America. Jeremiah's approach to breaking free from French influences and cooking with local ingredients would go on to influence chefs and restaurants around the world. Evenings at Stars would become the stuff of legend with diners ranging from Rudolph Nureyev and Margot Fonteyn to Pavarotti and the Beastie Boys. Just over a decade later Jeremiah Tower would put down his apron and walk away. Dan Saladino tells his story.

With Kirsty Lang. American musician and performer Ice-T has directed a cinema documentary Something From Nothing: The Art of Rap in which he talks to leading performers including Snoop Dogg, Dr Dre and Eminem about the culture of hip-hop. Ice-T discusses the origins of the music, and its continuing influence. Tom Hanks, Jerry Seinfeld and Larry King are just three high-profile entertainers who have launched new online film and video projects. Boyd Hilton considers the growing phenomenon of big stars creating productions solely for the internet. On the eve of her retirement Monica Mason, director of The Royal Ballet Company, reflects on her 54 years with the company which she joined as a 16 year old dancer in 1958. She recalls working with stars such as Margot Fonteyn and Rudolph Nureyev, becoming a muse to the choreographer Kenneth MacMillan, and why, as a young dancer, she was terrified of Royal Ballet founder Ninette de Valois. Producer Jerome Weatherald.

The company shows off its versatility performing the lush classicism of Rudolph Nureyev’s Raymonda Act III, the wrenching drama of […]

Richard Coles with violinist Nigel Kennedy, poet Matt Harvey, Red Rum's former stable lad, and an anti-fascist campaigner who used to be a member of the BNP. There's the story of a ballet shoe that used to belong to Rudolph Nureyev and war correspondent Janine di Giovanni shares her Inheritance Tracks.Producer: Simon Clancy.

HUMAN DESIGN with DONNA ROHLF, MSW, PHD. Donna Rohlf received her masters in clinical social work from Fordham University and she was awarded a doctorate from the Postgraduate Center for Mental Health in NYC. In this 3rd show in the series we will be discussing Projectors (21% of the population) who are designed to work with and guide the energy of others, but this only flows smoothly when they are recognized and invited to share their unique abilities and traits. Some famous Projectors: Queen Elisabeth II, Mick Jagger, Joseph Stalin, Paul McCartney, , Napolean, Woody Allen, Salvador Dali, Rudolph Nureyev, Elizabeth Taylor, Fidel Castro, James Joyce, Ulysses S. Grant, Henry Miller and Gen. Douglas MacArthur.

S02e13 - Rudolph Nureyev (themuppetarchive)

S02e13 - Rudolph Nureyev (themuppetarchive)

Dancer (Metropolitan) Colum McCann deserts the working-class backgrounds of his Irish novels to write a fictional life of Rudolph Nureyev. He invents a dancing prose style-floating, glittering, suspended in bright air. We discover how the subject, Nureyev, taught McCann a new way to write.